Several art magazines and journals have sprouted up online over the last few months. Caribbean Art World (CAW) Magazine founded by artist Marcel Wah includes an interview (click “Articles”) with Erica James, founding director of The National Art Gallery of The Bahamas, who was recently hired by Yale. (The content is mostly subscription-only, but some article can be accessed through member profile pages.)
I’m happy to see that Sue Ward, the always charming former editor of the sadly shuttered AAH journal The Art Book, is helming a new monthly art publication, Cassone. It is nearly all, alas, subscription-only, but available for an affordable £10/year. Recent topics include the Mougins Museum of Classical Art, Leonardo da Vinci, Beryl Dean, Richard Dadd, Edward Hopper, and Steve Jobs.
A former classmate of mine, San Diego Museum curator Ariel Plotek, has launched a new free online journal of reviews of exhibitions and books, Tabula Quarterly. The first issue considers “Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe,” “Roma Naturaleza e Ideal: Paisajes 1600–1650,” “Rembrandt and the Face of Jesus,” “Bronzino One Year On,” and “Art Theft and the Case of the Stolen Turners.”
Finally, the new journal Modern Art Asia examines the “globalized interdisciplinary context at the intersection of scholarship, criticism, and the market” with “peer-reviewed postgraduate articles, insightful commentary, and international exhibition reviews to encourage a broader vision of art produced throughout Asia after 1700.” In the first issue, Yayoi Shionoiri writes on photographs by Hosoe Eikoh in which images of writer Mishima Yukio are “superimposed upon images of Western painting.” Marci Kwon argues that Takashi Murakami’s work “should be read as an appropriation of the systems that drive capitalist consumption.” Gwyn Helverson examines work ”using traditional Japanese materials and/or incorporating traditional imagery, but invigorated with modern themes from, for example, hip-hop and otaku(geek) culture,” incorporating the “theories of feminist art historian Chino Kaori.”